Aquintatian Polyphony – Originates from singers and composers from France. The main sourses of this style are 3 manuscripts held in the Abbey od St. Martial at Limoges in the dutchy of Aquitane (southwestern France). In this period of time there were 2 main styles of polyphony, Discant (or Florid organum) and organum. Both types are seem in Aquintatian Polyphony.
Characteristics: setings of chant, verses, rhyming, scanning (?) accentual Latin Poems (see chap 4).
The first no polyphony not based on chant.
Discant polyphony: Both parts move aout the same rate. 1-3 notes in the uppervioce (in different lengths) to 1 note in the lower vioce.
Florid Organum: (or organum) because of the florid upper part. in this time perion refers to a texture were the lower vioce much more slowly than the upper vioce. Sustaining each note. In both styles the lower vioce holds the principal melody and is called the Tenor.
(Consonances 4th 5th and 8 with 3rds as imperfect consonances / Cadences on unison or 8 / unmeasured chant parallel, similar and contrary and oblique motion)
Late 1100's and early 1200's
Notre Dame Polyphony – Creaters of this style are associated with the Notre Dame Cathederal of Paris. The Chathederal took almost a century to build. Started 1160 and completed 1258. The style of polyphony was more complex than its predecesors and composed and read from written notation and included the first body of music for more than two vioces. Two composers associated with the Notradamw polyphony are Leonin (1150's-1201) and Perotin (late 12th early 13th century).
An important text of the School of Notre Dame was the Magnus liber organi written by Leonin. The collection contained two vioce settings of the solo portions of the responsorial chants (Graduals, Alleluias, and Office responsories.) for major feasts of the Church year. Perotin and later composers freely altered and added to the collection incliging organi in 3 and 4 vioce settings as well as newer genres of conductus and motet.
Perotin wrote substitute clausula for Leonins works based rhythmic and melodic repetition. Addditionaly he wrote 3 and 4 voice organum. Perotins use of melodic repetion in different vioces emphasized use of dissonances resolving to consonances resulting in longer imatative writing. Polyphonic Conductus – waswritten in France, England and elsewhere were settings for two to four voices.
Leonin Style Organum Discant Style clausulae (from Grout p 101) 2 vioces expansive in stepwise motion Free rhythm (some scholars apply modal rhythms) Tenor chant fragment irregular intervals and dissonaces cadence on 5th of 8ct Sections of Discant style Discant – both vioces moving in modal rhythm ex Tenor Mode 5 and Duplum Mode 1 (It is bleived Organum sections were to long by themselves. Discant sections were used between nuematic and mellesmatic text) Perotin Style Organum Susbstitute clausulae ( Grout p101) 3-4 vioces all vioces in rhythmic modes use of repedative harmonic devices repedative devices in other vioces (vioce exchange) (*see notes for more info)
The basic time unit (tempus, pl tempora) was group in three To preserve the grouping of three quarters were lengthened to dotted quarters in modes 3,4,5 Modes 1 and 5 are probably the oldest Theory of Rythmic Modes – a mode 1 melody would consist of repetitions of the pattern. Each phrase ending with a rest. To aviod monotony notes could be broken into shorter units or two notes of a pattern could be combined into one. Additionally modes could change withing a piece. Longs – Long notes Breves – Short notes Neumes – (in plainsong) a note or group of notes to be sung to a single syllable. Ligatures – In music a slur or tie. (wikipedia) Conductus – a musical setting of a metrical Latin text, of the 12th or 13th century. (wikipedia). Two types existed in the middle ages. (See bottom of this section) Monophonic conductus Ployphonic conductus Melisma – ([[x-dictionary:r:'Greek_Language?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|Greek]]: μέλισμα, melisma, song, air, melody; from μέλος, melos, song, melody), plural melismata, in [[x-dictionary:r:'Music?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|music]], is the singing of a single [[x-dictionary:r:'Syllable?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|syllable]] of [[x-dictionary:r:'Lyrics?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|text]] while moving between several different [[x-dictionary:r:'Note?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|notes]] in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, in which each syllable of text is matched to a single note. (wikipedia) Syllabic – Each syllable of text is matched to a single note. (wikipedia) Clausula – A self contained section of organum, setting a word or a sylable from a chant an closing with a cadence. Because this was already written by Leonin it Perotin's clausula were refered to as substitute clausula. Organum duplum / triplum / quadruplum – Organum written in 2 voices / 3 voices / 4 voices Scores would be written from bottom to top: Tenor, Duplum, Triplum, Quadruplum. Voice Exchange – Voices trade phrases. Each phrase emphasizes striking dissonances before resolving to a 5th and octave above the tenor
ORGANUM
Around 1100
(Consonances 4th 5th and 8 with 3rds as imperfect consonances / Cadences on unison or 8 / unmeasured chant parallel, similar and contrary and oblique motion)
Late 1100's and early 1200's
An important text of the School of Notre Dame was the Magnus liber organi written by Leonin. The collection contained two vioce settings of the solo portions of the responsorial chants (Graduals, Alleluias, and Office responsories.) for major feasts of the Church year. Perotin and later composers freely altered and added to the collection incliging organi in 3 and 4 vioce settings as well as newer genres of conductus and motet.
Perotin wrote substitute clausula for Leonins works based rhythmic and melodic repetition. Addditionaly he wrote 3 and 4 voice organum. Perotins use of melodic repetion in different vioces emphasized use of dissonances resolving to consonances resulting in longer imatative writing.
Polyphonic Conductus – waswritten in France, England and elsewhere were settings for two to four voices.
Rythmic Modes- Attributed to Johannes Garlandia. There are 6 basic patterns.
1. LB - quarter, eighth
2. BL - eighth, quarter
3. LBB - dotted quarter, eighth, eighth
4. BBL – eighth, eighth
5. LL - dotted quarter, dotted quarter
6. BBB – eighth, eighth, eighth
Leonin Style Organum Discant Style clausulae (from Grout p 101)
2 vioces
expansive in stepwise motion
Free rhythm (some scholars apply modal rhythms)
Tenor chant fragment irregular intervals and dissonaces cadence on 5th of 8ct
Sections of Discant style
Discant – both vioces moving in modal rhythm
ex Tenor Mode 5 and Duplum Mode 1
(It is bleived Organum sections were to long by themselves. Discant sections were used between nuematic and mellesmatic text)
Perotin Style Organum Susbstitute clausulae ( Grout p101)
3-4 vioces
all vioces in rhythmic modes
use of repedative harmonic devices
repedative devices in other vioces (vioce exchange)
(*see notes for more info)
The basic time unit (tempus, pl tempora) was group in three
To preserve the grouping of three quarters were lengthened to dotted quarters in modes 3,4,5
Modes 1 and 5 are probably the oldest
Theory of Rythmic Modes – a mode 1 melody would consist of repetitions of the pattern. Each phrase ending with a rest. To aviod monotony notes could be broken into shorter units or two notes of a pattern could be combined into one. Additionally modes could change withing a piece.
Longs – Long notes
Breves – Short notes
Neumes – (in plainsong) a note or group of notes to be sung to a single syllable.
Ligatures – In music a slur or tie. (wikipedia)
Conductus – a musical setting of a metrical Latin text, of the 12th or 13th century. (wikipedia). Two types existed in the middle ages. (See bottom of this section)
Monophonic conductus
Ployphonic conductus
Melisma – ([[x-dictionary:r:'Greek_Language?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|Greek]]: μέλισμα, melisma, song, air, melody; from μέλος, melos, song, melody), plural melismata, in [[x-dictionary:r:'Music?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|music]], is the singing of a single [[x-dictionary:r:'Syllable?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|syllable]] of [[x-dictionary:r:'Lyrics?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|text]] while moving between several different [[x-dictionary:r:'Note?lang=en&signature=com.apple.DictionaryApp.Wikipedia'|notes]] in succession. Music sung in this style is referred to as melismatic, as opposed to syllabic, in which each syllable of text is matched to a single note. (wikipedia)
Syllabic – Each syllable of text is matched to a single note. (wikipedia)
Clausula – A self contained section of organum, setting a word or a sylable from a chant an closing with a cadence. Because this was already written by Leonin it Perotin's clausula were refered to as substitute clausula.
Organum duplum / triplum / quadruplum – Organum written in 2 voices / 3 voices / 4 voices
Scores would be written from bottom to top: Tenor, Duplum, Triplum, Quadruplum.
Voice Exchange – Voices trade phrases. Each phrase emphasizes striking dissonances before resolving to a 5th and octave above the tenor